Author: Nathan Beaudry

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Episode 308 – Weird Versions of “Smoke on the Water” (Part 3)

This week’s episode is BANNED on YouTube. Please see below for a link to one of superior audio feeds. You can check out the Youtube videos down below or in the audio show notes.

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Postcards From The Edge . . . OF CONNECTICUT!

  • A mysterious pair of postcards arrive indicating that there is one missing from the collection. More to come!

Episode 45 from March of 2020

Episode #45 – Weird Versions of “Smoke on the Water” (Part 1)

Episode 147 from February of 2022

Episode #147 – Weird Versions of Smoke on the Water (Part 2)

The Latest Batch of Weird Versions:

Emil Ernebro demonstrates fingerstyle guitar by playing “Smoke on the Water” (sent by Jonatan Hedlin)

Sent by Raff Kaff
Sent by Nate’s Father-in-Law

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More Weird Versions!

Drinkone – Smokon De What’A

Bradley Hall Plays Smoke On The WA’ER but it’s REALLY Bri’ish

Ukranian Pensioners play Deep Purple Medley in Donetsk

Sent by Art Smith after hearing at a local coffee shop

Ringo and Steve Lukather from Instagram

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Episode 307 – Blackmore’s Night – Under a Violet Moon (Part 2)

Link to video episode on YouTube: https://www.youtube.com/watch?v=c3TFZKqHRJ4

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Postcards From The Edge . . . OF CONNECTICUT!

  • Using the Way Back Machine I got a snapshot of Blackmore’s Night’s website from mid 2000, shortly after their third album was released and just after the website launched.
Extremely 1999 animated GIF from the archived Blackmore’s Night website.

Album Tracks:

All tracks written by Blackmore, Night unless noted. Instrumentals written by Blackmore.

  1. Beyond the Sunset (Instrumental)
  2. March the Heroes Home
  3. Spanish Nights (I Remember it Well)
  4. Catherine Howard’s Fate
  5. Fool’s Gold
  6. Durch den Wald zum Bach Haus (Instrumental)
    • Producer – Jeff Glixman
    • Merlijn: Durch Den Wald Zum Bach Haus is based on one of Bachs Fuga’s. It tells the story of Ritchie visiting Bachs house in Eisenach and being chased by a dog! As told many times on stage as introduction to this song (also by RB himself!)
  7. Now and Then
  8. Self Portrait (Blackmore, Dio)

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Bustin’ Out The Spreadsheet

Reviews

Under A Violet Moon – Album Review
BLACKMORE’S NIGHT UNDER A VIOLET MOON Cold Harbour Recording Co PCCY 01377 : UK : June 1999Few people seemed prepared to venture out on this one, but one of our members who listens to recordings of a lot of early tudor music decided to try and elaborate on the music for us.”Following the usual appalled silence when friends find out that I have quite a collection of early Renaissance music, I quickly deploy my standard defence, i.e. I use it when I teach my ‘A’ Level class about Henry VIII. This usually satisfies them, and hides darker secret – I actually like the stuff. So it was with an interested ear that I sat down to listen to the new Blackmore’s Night offering. I thought it was a very brave decision by Blackmore to try and put across a style of music that in it’s original form is far different to modern sounds. Renaissance music tends to follow very different pathways tonally and is also quite formal. A lot of the music was originally written to facilitate structured courtly dances, incorporating rhythms and tempo changes which seem very awkward to modern ears. I guess that Blackmore had to choose between two routes, either recreate the sound as well as he could – as his been done by ensembles like Red Byrd, a group of modern musicians who aim to present original early music as it was written – or he could modernise the sound of the music. This approach has been well worn by groups like Clannad, Fairport Convention and even Jethro Tull. Unfortunately Blackmore also chose to go this way, laying himself open to the inherent dangers of both cliche and Blackadder style parody (the title song from the second Blackadder series is actually a clever parody of the lute songs of Thomas Campion, who lived from 1567 – 1620).In the end much of “Violet Moon” tips its hat toward the Galliards of the Tudor court, albeit far more up tempo, and also to Irish folk music. Some of the songs, particularly “Catherine Howard’s Fate”, “Fools Gold” and the title track itself would be so much better without any vocals. Not because of any weaknesses in Candice’s voice (which I actually like), but because most early music in that style didn’t have vocals. For myself these tracks were really going somewhere before the vocals came in. The one really convincing Renaissance song “Beyond The Sunset” is actually a Tudor keyboard piece converted to the guitar. The album is overall very frustrating to listen to for me because of the modernisation of the sound. The title track ends up sounding like Clannad during their “Robin Of Sherwood” phase, while “Castles And Dreams” is pure Stevie Nicks and Fleetwood Mac. Other songs conjure up entirely inappropriate images. “Gone With The Wind” starts off like “The Final Countdown” by Europe, and “Wind In The Willows” sounds like an entry for the Eurovision song contest. When Blackmore looks elsewhere for inspiration, he sadly ends up in “Riverdances” rather large foot-print. “Morning Star” and “Spanish Nights” suffer most from this, even with the Beethoven steal in the latter. My favourite tracks are those which suffer least from this attempt at modernisation. “Possum Goes To Prague”, “Beyond The Sunset” and “Durch…”, as well as the very pretty “Now And Then”.I really wish Blackmore had been brave enough to take the music back to something more like its original state, right down to using Tudor vocal inflections, and made the majority of the songs instrumental, taking something like the Red Byrd approach but writing his own material. As it currently stands I’m afraid the album is largely a weak pastiche of early music and other bands working in this area, most noticably Clannad. The lyrics themselves are absolutely banal when sung in modern English, but might have been acceptable using the vocal approach of the Tudor times. For all the faults though, the road Blackmore has chosen is a brave one given that most rock fans are pretty unforgiving of other musical genres.” Roy Watson Davies

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Episode 306 – Ozzy Osbourne – Speak of the Devil

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Lead up to the Album:

  • Ozzy’s management decided to record this album in February of 1982.
  • Sabbath’s publishing deal had just expired so all the songwriters would not benefit by re-recording these songs with new publishing royalties.
  • Sabbath was planning on releasing a live album (“Live Evil”) at the same time.
  • Geezer: “We couldn’t afford not to release Live Evil and Ozzy was forced into making Speak of the Devil.”
  • Randy Rhoads and Tommy Aldridge refused to do the album feeling that they’d established themselves as something separate from Black Sabbath.
  • While Sarzo wasn’t as upset about it he stood with the other two and told Sharon that they didn’t want to do it.
  • Sharon was not upset but it was reported that Ozzy was very upset and descended into what Rudy Sarzo called one of “the worst drinking binges I had ever witnessed.
  • It was during this binge that Ozzy was famously arrested for peeing on the Alamo.
  • In a drunken stupor he fired everyone in the band but later had no memory that he had done it.
  • It’s reported that Ozzy had confronted Randy on the tour bus telling him that he would replace him with Frank Zappa or Gary Moore for the live album.
  • Rhoads agreed to do this album and one more studio album to fulfill his contractual obligation to Jet Records but would leave the band after the next tour.
  • Originally it was planned to be “the greatest rock spectacle ever” according to Sharon Osbourne.  The show was planned to be video taped as well as recorded.
  • Everything changed a few weeks later when Randy died in a plane crash.
  • Bernie Torme took over guitar duties in the band for a short time until both parties decided to part ways.
  • Vito Bratta was the next guitarist considered as he was playing in a New York Black Sabbath cover band at the time.  However, he and Sharon did not get along.
  • Brad Gillis met with Rudy Sarzo to learn the songs as he was completely unfamiliar with Black Sabbath.  During his audition he nailed Rhoads’ parts and got the job.
  • On April 12, Gillis played his first show ith the band.  It’s said that Torme stayed on during these first few shows to help through the transition in case he was needed.  Gillis had traveled with them and learned the songs by watching Torme.
  • The band got together in September of 1982 to rehearse the songs but Ozzy was not around for the rehearsals.  Sharon had told them that he would not be around much.
  • The record company told Sharon that they planned to include previous live recordings of Rhoads doing “Iron Man,” “Children of the Grave”, and “Paranoid.”  Sharon told the band not to bother with those songs.
  • During this time morale was very poor and Sarzo was secretly recording the Metal Health album with Quiet Riot then finally made the decision to leave Ozzy’s band after this recording.
  • They only really saw Ozzy when he showed up for sound check on September 26, 1982.
  • Ozzy didn’t seem to remember the lyrics and during the shows he put a notebook with a lamp on a chair so he could read them during the concerts.
  • The audience at the was under 1,000 people at The Ritz.  Sarzo described the crowd as “rowdy.”
  • The Ritz had a smaller stage than they were used to and they weren’t able to use the same monitor setup leading to Gillis and Sarzo spending most of the shows directly in front of Aldridge so they could hear.
  • They used a mobile studio parked outside to record the show.
  • They were all dressed casually. Ozzy, showed up bald having shaved his head a few days before the gig.
  • The shows ended with “Iron Man” “Children of the Grave” and “Paranoid” and the band played a little looser, not keeping it as tight as they’d been informed that these performances wouldn’t be used.

Core Band:

Technical:

  • Producer, Engineer – Max Norman
  • Technician [Live Sound] – Chuck Weisner
    • Only other credit on Discogs is Van Halen’s “Live Without a Net.”
  • Mastered By – Joe Brescio

Album Art & Booklet Review

  • Design [Cover], Artwork – Steve Joule
    • https://krusher.co.uk/
    • Designed the cover for Diary of a Madman, Bark at the Moon and Black Sabbath’s Born Again.
    • Was art director for Kerrang!
  • Photography By – Neal Preston
  • The gatefold features a picture of John Edward Allen, Ozzy’s crew member who provided entertainment and comic relief on stage, as well as getting Ozzy drinks. Allen was also an actor appearing in Buck Rodgers and the film Bladerunner among many other stage performances. John also played one of the seven dwarves at the White House for President Jimmy Carter.
  • UK release was called “Talk of the Devil” as that is the more common phrase there.
  • There was also a Laserdisc release in Japan called “Speak of the Devil” which was a video of this band performing during the Diary of a Madman tour in June of 1982.

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The Venue:

Setlist

  1. Symptom of the Universe
  2. Snowblind
  3. Black Sabbath
  4. Fairies Wear Boots
  5. War Pigs
  6. The Wizard
  7. N.I.B.
  8. Sweet Leaf
    • This song was not included on the original CD release but was added back to the 1995 re-release.
  9. Never Say Die
  10. Sabbath Bloody Sabbath
    • Confirmed by Max Norman to be one of potentially three songs performed the afternoon prior to one of the shows in an empty venue. Crowd noise would have been added in post production.
  11. Iron Man / Children of the Grave
  12. Paranoid

Japanese Release Featured Two Bonus Tracks recorded at Irvine Meadows Amphitheatre on June 12, 1982 with the same lineup. Released as “Speak of the Devil” in Japan on Laserdisc.

Full video here: https://www.youtube.com/watch?v=TDy0B8sbVNc

Bonus tracks included on the Japanese release:

  1. Mr. Crowley
  2. I Don’t Know

Bootlegs of Shows Pre-Production:

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Speak of the Devil Laserdisc release from later in the 1982 tour.

Reception and Charts:

  • Sarzo and Gillis departed shortly after these recordings with Sarzo returning to Quiet Riot and Gillis returning to Night Ranger.
  • Ozzy was very upset with Sarzo and even assaulted him backstage at the US Festival in 1983.
  • Producer Max Norman said in an interview that due to budget constraints  the band had performed an entire extra show with no audience before the show on either the 26th or the 27th.  This was recorded as a safety.
  • Norman said that the final album contains three songs from that performance but does not remember which three.
  • Sabbath Bloody Sabbath was believed to have been from this performance as it isn’t listed on the set list of either show at The Ritz.
  • The live versions of the three songs with Rhoads eventually found their release on the 1987 album Tribute.
  • Osbourne was critical of the album. It filled a contractual obligation but he was not a big fan of the project.

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Episode 305 – Blackmore’s Night – Under a Violet Moon (Part 1)

Link to video episode on YouTube: https://www.youtube.com/watch?v=MVAvSnCHB8E

Disclaimer: The video used on YouTube is a byproduct of producing our audio podcast. We post it merely as a convenience to those who prefer the YouTube format. Please subscribe using one of the links below if you’d prefer a superior audio experience.

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Core Band:

  • Band [Blackmore’s Night Is], Guitar, Mandolin, Bass, Drum [Renaissance Drum], Tambourine – Ritchie Blackmore
  • Band [Blackmore’s Night Is], Vocals, Tin Whistle [Pennywhistle] – Candice Night

Additional Musicians:

Technical:

Album Art & Booklet Review

  • Artwork – Peter Pracownik
    • In the band “Mouse & Twink: Fairies”
    • Also did album art for Hawkwind
  • Photography By – Michael Keel
    • https://www.keelphoto.com/
    • New York photographer who does a lot of photo work
    • In music Keel has worked on photography primarily for Blackmore’s Night and Candice Night
Street in Rothenburg ob der Tauber (Bavaria, Germany) that the album cover is based on.

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Album Tracks:

All tracks written by Blackmore, Night unless noted. Instrumentals written by Blackmore.

  1. Under a Violet Moon
    • Backing Vocals – John Ford (2)
    • Bass – Peter Rooth
      • Credited on 4 Yngwie albums as his guitar tech
    • Merlijn writes: Ritchie did write some lyrics for this tune. And the melody is based on an tune from the Renaissance by Franco Flemish composer Ivo di Vento. 
  2. Castles and Dreams
  3. Past Time with Good Company
    • Arranged By – Blackmore*
    • Drums [Military] – Mike “Metal” Goldberg*
      • In 2015 won a grammy for best blues album for his album “Step Back” at the 57th Grammy Awards.
      • Engineer on the Baha Men album “Doong Spank” two albums before their breakout hit “Who Let The Dogs Out”:
    • Written-By – Traditional by Henry VIII*
    • Producer – Jeff Glixman
  4. Morning Star
  5. Avalon
    • Arranged By – Blackmore*
    • Written-By – Traditional
    • Producer – Ritchie Blackmore, Roy McDonald
    • Merlijn writes: Avalon: The Hunt is Up – English Hunting Song Main melody is copied. “The Hunt is Up” originally titled “The Huntes upp” is a 16th century ballad attributed to William Gray. The hunt is up was commonly associated to any song that would be sung in the morning. Shakespeare employs it as such in Romeo and Juliet (act iii, sc. 5).
  6. Possum Goes to Prague (Instrumental)
  7. Wind in the Willows
    • Drum Programming – Peter Rooth
    • Vocals, Bass – John Ford (2)
    • Producer – Jeff Glixman
    • Merlijn writes: The Wind in The Willows is originally called: Bread And Fishes, by Graham Bell. Ritchie heard it being perfomed by The Strawbs and liked it:Bread And Fishes
  8. Gone with the Wind

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Deep Dive Podcast Network:

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Episode 304 – Dio – A Special From The Spectrum

Link to video episode on YouTube:  https://www.youtube.com/watch?v=pogJEmtYaOc

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The Venue:

Setlist

  1. Introduction*
  2. Stand Up and Shout
  3. One Night In The City*
  4. Don’t Talk to Strangers
  5. Mystery
  6. Egypt (The Chains Are On)
  7. Holy Diver*
  8. Drum Solo
  9. Heaven and Hell
  10. Guitar Solo
  11. Heaven and Hell (reprise)
  12. The Last in Line
  13. Rainbow in the Dark
  14. The Man on The Silver Mountain*
  15. Long Live Rock ‘n’ Roll*
  16. The Man on the Silver Mountain (reprise)*
  17. The Mob Rules
  18. We Rock

* denotes tracks played from bootleg audio source not included on original VHS release

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Episode 303 – Album Ranking: Fireball

Link to video episode on YouTube:  https://www.youtube.com/watch?v=wABW-hDxjjs

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Postcards From The Edge . . . OF CONNECTICUT!

  • Our last card from Florida!

Album Song Ranking:

DPP and Patron rankings, song-by-song.

Nate Experiments with Photoshop’s Generative AI

Nate offering you his hand.
Nate’s power fist.
Nate’s uncomfortably beefy arm.

As mentioned on the show Nate has manually been cropping and filling in shoulders for almost 6 years now. Could he harness the power of the latest Photoshop’s generative AI to make this task easier? Here’s what happened when he attempted to generate the remaining arm for his own picture.

John’s replacement #1.
John’s replacement #2.
John’s replacement #3.

In lieu of completing John’s arm int he picture it gave us a new “John” all together! Check out Nate’s Angels, the new co-hosts of the podcast! Let us know which co-host you want to see replace John!

This is what AI thinks John would look like with a crown. Something about John looks different. Must be the crown!

And, of course, a teaser for an upcoming episode. Behold “medieval king” John.

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Ritchie, on his bike, late to cello lessons! Photo origin unknown, scan courtesy of Arthur Smith!

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Episode 302 – Remembering John Sykes

Link to video episode on YouTube:  https://www.youtube.com/watch?v=nVgxGdRPltA

Disclaimer: The video used on YouTube is a byproduct of producing our audio podcast. We post it merely as a convenience to those who prefer the YouTube format. Please subscribe using one of the links below if you’d prefer a superior audio experience.

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Postcards From The Edge . . . OF CONNECTICUT!

  • This week we get a postcard from Georgia and a thematically appropriate postcard from Ireland!

Track List:

  1. Streetfighter – She’s no angel (1980)
    • Sykes made his recording debut on the Streetfighter track “She’s No Angel”, which appeared on the New wave of British heavy metal compilation New Electric Warriors in 1980.[6]
    • https://www.discogs.com/release/4230683-Various-New-Electric-Warriors
  2. Tygers of Pan Tang
  3. After leaving Tygers of Pan Tang, Sykes auditioned for Ozzy Osbourne‘s band and was briefly a member of John Sloman‘s Badlands.[5][4] Despite a few shows and Sloman procuring a recording contract with EMI, the group ultimately broke-up.[9]
  4. Thin Lizzy
  5. Whitesnake & John Sykes – Crying in the Rain – Rio de Janeiro 1985.01.19

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  1. Blue Murder
  2. Solo
  3. HTP
  4. Sykes-fronted Thin Lizzy

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We discussed John’s final single “Dawning of a Brand New Day” in an after credits segment on the audio podcast.

What Rockers Are Saying About John Sykes:

  • Neil Murray:
  • Glenn Hughes:
    • https://www.facebook.com/glennhughesonline/videos/948649327240433
    • Heaven’s Missing An Angel
    • There are no words to describe how I feel about John’s guitar playing. He was absolutely a phenomenon.
    • Here’s a song that we wrote together called “Heaven’s Missing An Angel”. What an amazing solo on this song & Honored to have John join me on vocals.
    • RIP Dear one. The angel is now in heaven,
    • Love you 🙏 🩵
  • Carmine Appice:
    • https://www.facebook.com/CarmineAppiceOfficial/posts/pfbid02H4QTKV39RFHKDxYr46y1KjPinyiUkUGLSxUhhxz798E6Q6dLL3aPEKvfdwnvfsT3l?ref=embed_post
    • I’m am saddened about the news of my band mate John Sykes . I’m shocked about his passing 🥲 . We played such great music and had such great times together . Check out Blue Murder 1, and The Cry of Love albums. John’s playing, writing and singing were amazing …I loved him like a brother. We lived close to each other when we were in Blue Murder we hung out everyday. He was an amazing guitarist and together with Tony Franklin on bass we had a great rock trio.
    • He will be missed. ❤️❤️RIP brother John . Check out Blue Murder on MTV in 1989 John played great on this.
  • Doug Aldrich
    • https://www.instagram.com/p/DFEEZioS4m9/?utm_source=ig_embed&utm_campaign=loading
    • I’m so sad to hear the news that John Sykes has passed away from Cancer:(
    • Prayers and Thoughts to his family and fans throughout the world. He’s up there now with Eddie Gary Randy Jimi and a whole lot of our hero’s.♥️
    • I met John several times and I’ll never forget the conversations we had. Was always really nice.
    • He was a funny and cool guy that was fierce on the guitar and sang his ass off.
    • We will miss ya John but thank you for the inspiration💯💕💕
  • Mike Portnoy:
  • Adrian Vandenburg
  • Michael Schenker
  • From Rich “Yong-Way” Shailor
    • Got meet him a few times, VERY nice guy. Always had a coffee cup but I’m not sure it was coffee. We were standing next to each other watching Joe Satriani from the side of the stage. As he passed me a beer Roger got me from a cooler I looked over at them and said “I wonder what it’s like to be the other guitar player in Joe Satriani’s band “ he laughed and said I never thought about that before. I said “that’s because you are never the OTHER guitar player in the band” he understood the compliment and gave me a cheers.
  • David Coverdale
    • Just heard the shocking news of John’s passing…My sincere condolences to his family, friends & fans…

Deep Dive Podcast Network:

Check out our website to find other like-minded shows taking deep dives into individual songs, bands, and albums.

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Episode 301 – Fandango – Last Kiss

Link to video episode on YouTube: 

Disclaimer: The video used on YouTube is a byproduct of producing our audio podcast. We post it merely as a convenience to those who prefer the YouTube format. Please subscribe using one of the links below if you’d prefer a superior audio experience.

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  • Sicktone joining us at the $1 “Silly Made Up Name” Tier
    • Hello, I’m Lauri (also known as Sicktone on the internets). How did I get here? Well, in early 90’s I browsed a…book – yearly, very common Finnish book series. There was something written about “heavy metal” and Deep Purple was mentioned. Next weekend during a casual visit at a local library, noticed a Cassette (yes they were still common) with that band name on it. Got the cassette, entered a parking lot and my dad’s car. He was blasting out Beethoven. I asked if I could have a little listen to this DP cassette. “Well why not although it’s not my thing…”. Oh, organ intro turned into massive blast of power. Now you know the album — In Rock it was. We listened the first half of the Cassette on the way home and got a “Hmm, that was energetic and went into lots of places and I have to mention Beethoven…”, dad said. Been a fan since then! I might have been abt 12-13 years old. Of course, Rainbow and all the “family” bands/projects were found quite soon from the library. And much later, on the internet. Now I’m here writing an overly long introduction, listening to Paice Ashton Lord. Because Paicey just shines on those tracks (too). As a drummer of some kind, Paice always grabs my attention. So in short, hello and thanks for making the podcast!
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Core Band:

  • Lead Vocals, Guitar [Lead Guitar] – Joe Lynn Turner
  • Percussion – Walter Santos (11)
    • Credits with Fandango
    • Also did his own “Street Corner Symphony” albums
    • Was previously in the Stanky Brown Group
  • Piano, Organ, Synthesizer [Moog], Strings, Clavinet – Larry Dawson
    • Went on to record with Jaguar and Deep Forest
  • Vocals, Bass Guitar – Bob Danyls
    • Just a few credits outside of Fandango
  • Vocals, Drums – Lou Mondelli
    • Went on to work with the Lundstrom Singers and The Payne Brothers
  • Vocals, Guitar [Lead & Slide Guitars] – Rick Blakemore
    • Discogs lists him as going on to work with Girlschool and Ted Nugent but I can’t find any other sources to verify this
  • Vocals, Piano, Organ – Denny La Rue*

Additional Musicians:

  • Arranged By [Strings], Conductor [Strings] – David Campbell
  • Harmonica – Jimmy Hall (tracks: A5)
    • First credit is from 1957 on Discogs. He was born in 1949 so They may have him confused with a country music composer named Jim Hall.
    • Other credits include Kiki Dee, Grand Funk Railroad and Wet Willie
  • Vocals – Jimmy Hall (tracks: A2)

Technical:

  • Engineer [Assistant] – David Ruffo
    • https://www.davidruffo.com/
    • Lots of credits through the early 2000s
  • Engineer [Assistant] – Sean Fullan
    • Started out working in Europe alongside Glyn Johns
    • Worked with The Rolling Stones, Duran Duran, Metallica, and Lou Reed but not Metallica and Lou Reed.
  • Engineer [Recording and Remix] – Gus Mossler
    • Worked with John Denver, National Lampoon and Nilsson, but not the creepy bathrobe album.
  • Producer – Neil Portnow
  • Production Manager [Production Assistant] – Paula Jeffries
  • A&R – Marge Meoli
  • Management [Artist Direction] – Ed Newmark Associates, Inc.

Album Art & Booklet Review

  • Art Direction – Gribbitt*
    • 400+ credits on Discogs including Frank Sinatra, Donna Summer, Parliament, Joe South, and Barbi Benton
  • Art Direction – Tim Bryant (2)
    • Art director at RCA
    • Worked with Doc Severinsen, Sun Ra, The Four Tops, Poco, and The Legendary Lefty Frizzell
  • Design [Fandango Logo] – Peach Arts
    • Only credits are the first two Fandango albums
  • Photography By – Ron Slenzak
  • Illustration – Ed Scarisbrick
    • The project he worked on directly before this was the cover for Cheech and Chong’s Up in Smoke, also worked with Gary Wright and B.B. King

Inner sleeve acknowledgements:

SPECIAL THANKS to Ian Copeland and everyone at Paragon, Art Robbins & Johnnie, Ken Newman, John Davis, Paula Jeffries, Tom Flynn and Peach Arts, Butch Wright, Les Sobel, Jeff Kievit, Greg Hanley, Wet Willie, Victor’s House of Music, Mascara Music, the memory of Joe Polizzi, Buzz Bland, Paul Brennan, Tom Durbvrow, Alan Grubman, Sherry Thomas, Jan DeGeer, The “P” Town Boys, Rick & Ted & The Boys from Anaheim, Shawn and Dave, Joe Pollard & Syndrums, C & C Case Co. and Ed, Gus and Neil.

Mixed with the use of the Aphex Aural Exciter.

Jimmy Hall appears through the courtesy of Epic Records by special arrangement with Sound Seventy Management Inc.

Manufactured and distributed in Canada.

Released with a printed inner lyrics-sleeve.

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Album Tracks:

Side One:

  1. Last Kiss (Danyls, La Rue, Turner, Dawson, Blakemore)
  2. Sure Got The Power (La Rue, Blakemore)
  3. Mexico (La Rue, Turner, Blakemore)
  4. Losin’ Kind Of Love (Turner)
  5. Hotel La Rue (La Rue, Blakemore)

Side Two:

  1. Feel The Pain (La Rue, Turner, Blakemore)
    • Written-By [Synthesizer Introduction], Synthesizer [Introduction] – Larry Dawson
  2. City Of Angels (La Rue, Blakemore)
  3. The Mill’s On Fire (La Rue, Blakemore)
  4. I Keep Going/Hard Bargain (La Rue)

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Bustin’ Out The Spreadsheet

Postcards From The Edge . . . OF CONNECTICUT!

  • Representing Florida once again!

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